Aristotle’s Six Elements of Tragedy
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The artist aims to represent reality and universal truths, not just superficial appearances. A serious work of art raises and purifies emotions like pity and fear on moral, psychological and social levels. It tells a complete story with a beginning, middle and end, selecting only those elements that convey universal truths, and uses language appropriately for each part of the narrative.
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Difference from Plato's Concept of Imitation, New Dimensions, Poetry linked with Music, Medium of Poetic Imitation, Object of Imitation, Manner of Imitation, Artistic Imitation: A Process of Ordering and Arranging
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Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
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According to Aristotle, the ideal tragic hero is neither perfectly virtuous nor entirely wicked. He is generally a good person of high status who makes an error in judgment or has a character flaw that ultimately leads to his downfall. This downfall causes both pity and fear in the audience. The hero's demise is a result of human frailty rather than deliberate vice. Examples given are Oedipus, whose downfall stems from multiple errors including ignorance, passion, and character defects, and Othello, whose jealousy arises from an avoidable error of judgment. Aristotle argues this type of hero and plot best provokes the intended emotional response from viewers.
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Aristotle's Poetics - Epic And Tragedy
This is my presentation for my MA English class. You are free to modify, share, redistribute and add to it in any way you like.
*I do not own the images used in the presentation. They are the property of their respective owners.
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Aristotle regarded tragedy as the highest form of literature. He defined tragedy as an imitation of action that is serious, complete, and of a certain magnitude, which provokes emotions of pity and fear and achieves a catharsis of such emotions. Aristotle identified six constituent parts of tragedy: plot, character, thought, diction, song, and spectacle. He emphasized the importance of maintaining unity of action, time, and place in tragedies. The tragic hero should be a person of high reputation who makes an error that leads to their downfall. Aristotle's observations on tragedy established foundational principles for dramatic criticism.
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Friedrich Nietzsche analyzed Greek tragedy through the lens of Apollonian and Dionysian elements. The Apollonian represents reason, form, and individuality while the Dionysian represents intoxication, passion, and a loss of self. For Nietzsche, true Greek tragedy arose from a balance of these two elements, as seen in the works of Aeschylus and Sophocles. He believed later tragedians like Euripides lost this balance by emphasizing rationalism over ecstatic elements.
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This presentation deals with Greek philosopher Plato's objections to poetry and Aristotle's clarification on the confusion created by Plato. It is said that Plato confused study of morals/ethics with that of aesthetics. Aristotle removed this confusion.
Aristotle's poetics
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
ars poetica
Ars Poetica, or "The Art of Poetry," is a poem written by Horace c. 19 BCE, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama..."and has inspired poets and writers through the ages
Aristotle's Poetics
Aristotle's Poetics c. 335 BCE is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory
The concept of Ideal hero and Hamartia.
According to Aristotle, the ideal tragic hero is neither perfectly virtuous nor entirely wicked. He is generally a good person of high status who makes an error in judgment or has a character flaw that ultimately leads to his downfall. This downfall causes both pity and fear in the audience. The hero's demise is a result of human frailty rather than deliberate vice. Examples given are Oedipus, whose downfall stems from multiple errors including ignorance, passion, and character defects, and Othello, whose jealousy arises from an avoidable error of judgment. Aristotle argues this type of hero and plot best provokes the intended emotional response from viewers.
Preface to shakespear
Samuel Johnson wrote the preface to Shakespeare's plays in which he analyzed Shakespeare's style and characters. Johnson acknowledged Shakespeare's genius but also discussed three main faults: immoral plots, disregarding time and place unities, and loose plots. Johnson argued that critics should judge works based on their merits rather than following outdated conventions. He believed Shakespeare followed the unity of action but intentionally disregarded the unities of time and place, which was acceptable for history plays depicting events over long periods. Overall, Johnson provided a balanced analysis of Shakespeare's strengths and weaknesses through a classic critical lens.
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This document provides an overview of the characteristics of comedy of menace as a genre. It notes that the term was coined by critic Irving Wardle to describe plays by David Campton and Harold Pinter. Comedies of menace feature both comic and tragic elements, keeping the audience both amused and on the brink of terror through an indefinable sense of fear. They often have simplistic settings and focus on the threat faced by characters from a vaguely defined powerful force. The sudden shifts between comedy and seriousness enhance the unsettling atmosphere.
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Hamartia refers to a character's fatal flaw or error of judgment that ultimately leads to their downfall, as described by Aristotle in his work Poetics. Aristotle defined hamartia as a mistake made by a character, often due to ignorance, that sets in motion tragic events. Examples of hamartia include Othello's jealousy and pride that Iago exploits, Macbeth's ambition that drives him to murder, and Oedipus' short temper that leads to hasty decisions causing his downfall. Hamartia is best understood as a mistake or wrong step taken in ignorance, rather than an inherent character flaw.
2. poetry as criticism of life
Matthew Arnold defines poetry as a "criticism of life" that addresses life's problems under conditions of poetic truth and beauty. Poetry must have a noble and profound application of ideas to real life. It is a superior form of knowledge to philosophy, science, and religion because it provides a sound representation of life and ideas without falsifying facts. To Arnold, the greatest poetry, like that of Homer, Dante, and Milton, has high seriousness that gives their criticism of life profound power through absolute sincerity.
Aristotle's Poetics - Epic And Tragedy
This is my presentation for my MA English class. You are free to modify, share, redistribute and add to it in any way you like.
*I do not own the images used in the presentation. They are the property of their respective owners.
Aristotle's observation on Tragedy.pptx
Aristotle regarded tragedy as the highest form of literature. He defined tragedy as an imitation of action that is serious, complete, and of a certain magnitude, which provokes emotions of pity and fear and achieves a catharsis of such emotions. Aristotle identified six constituent parts of tragedy: plot, character, thought, diction, song, and spectacle. He emphasized the importance of maintaining unity of action, time, and place in tragedies. The tragic hero should be a person of high reputation who makes an error that leads to their downfall. Aristotle's observations on tragedy established foundational principles for dramatic criticism.
Preface wordsworth
This document summarizes William Wordsworth's preface to Lyrical Ballads published in 1800. It provides background on Wordsworth and his collaboration with Samuel Taylor Coleridge on Lyrical Ballads in 1798. The preface laid out Wordsworth's theory that poetry should be written using ordinary language to describe common sights and sounds and everyday experiences to arouse feelings of tranquility and pleasure in the reader. Wordsworth believed poetry originated from emotions recollected later and the poet acts as an interpreter of those feelings and nature for readers. The document outlines some of Wordsworth's most famous poems and ideas around the role of imagination and poetry's relationship to nature from the preface.
Three Estimates by Matthew Arnold
The document discusses Matthew Arnold's views on poetry criticism as presented in his essay "Three Estimates of Matthew Arnold". Arnold describes three types of estimates used to evaluate poetry: the Real Estimate, which judges a work based solely on its artistic merit; the Historic Estimate, which overvalues a work due to the poet's historical context; and the Personal Estimate, which is swayed by personal biases towards contemporary poets. Arnold advocates for his "touchstone method" to properly analyze poetry by comparing excerpts to established classics and evaluating them based on their highest poetic quality.
Apollonianism and dionysianism
Friedrich Nietzsche analyzed Greek tragedy through the lens of Apollonian and Dionysian elements. The Apollonian represents reason, form, and individuality while the Dionysian represents intoxication, passion, and a loss of self. For Nietzsche, true Greek tragedy arose from a balance of these two elements, as seen in the works of Aeschylus and Sophocles. He believed later tragedians like Euripides lost this balance by emphasizing rationalism over ecstatic elements.
Preface to lyrical ballads
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This document summarizes T.S. Eliot's essay "Tradition and the Individual Talent". The essay is divided into three parts: Eliot's concept of tradition, his theory of the impersonality of poetry, and a conclusion. Eliot argues that a poet must be steeped in tradition through painstaking study in order to create new works of art. A poet surrenders their personality and emotions to tradition, acting as a medium for their fusion. Their work is then judged based on how it compares and contributes to the ongoing tradition, rather than as an expression of personal feelings or experiences.
difference between tragedy and epic.
This document compares and contrasts the key differences between tragedies and epics. It notes that tragedies aim to elicit emotions of pity and fear through serious and complete actions of a certain magnitude, using embellished language. Epics are long narrative poems that represent characters of heroic stature in adventures of great historical, legendary, or religious significance. Some key differences are that epics have a longer length, a more episodic plot covering many stories, use the heroic meter of hexameter, and deal with the fortunes of people rather than an individual. Tragedies adhere more to the classical unities of time, place and action.
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- 3. The artist does not just copy the shifting appearances of the world, but rather imitates or represents Reality itself, and gives form and meaning to that Reality. In so doing, the artist gives shape to the universal, not the accidental.
- 5. Serious in the sense that it best raises and purifies pity and fear; serious in a moral, psychological, and social sense.
- 7. Not just a series of episodes, but a whole with a beginning, a middle, and an end. The artist selects only those aspects which give form to universal truths.
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